Relevant bibliographies by topics / Paintings

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Paintings'

Author: Grafiati
Published: 4 June 2021
Last updated: 28 July 2024

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Journal articles on the topic "Paintings"

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Nie, Yujie. "The Understanding of Bad Pictorialism from the Perspective of Origin and Development." BCP Social Sciences & Humanities 20 (October 18, 2022): 417–21. http://dx.doi.org/10.54691/bcpssh.v20i.2350.

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Since the emergence of "bad" painting doctrine in the 1970s, "bad" paintings have always been on the cusp of public opinion.According to the standards of classicism or modernism, "bad" paintings are characterized by ugly, clumsy brushwork., Quirky images, dull colors, incompatible with mainstream art.But this kind of ugliness never affects the expression of spirit and thought.This article aims to explore the origin of "bad" paintingism, explore the practical meaning of the word "bad", and analyze the trend of "bad" painting in contemporary China.
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Barron, Irving R., and Gaurav Sharma. "Toward CanvasChain: A Block Chain and Craquelure Hash Based System For Authenticating and Tracking Fine Art Paintings." Electronic Imaging 2020, no. 4 (January 26, 2020): 399–1. http://dx.doi.org/10.2352/issn.2470-1173.2020.4.mwsf-399.

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Determining the authenticity of a painting is not an easy task. First, distinguishing fake paintings from originals is challenging, and often even art experts cannot reliably identify forgeries. Counterfeiters can also create spurious documentation to support the “authenticity” of fake paintings. In this work, we present work toward CanvasChain, a system for authenticating/tracking paintings that uses a blockchain in combination with a robust hash of the crack patterns (craquelure) on the surface of paintings. The robust hash is used as a painting’s fingerprint, which is used in a blockchain to validate and authenticate the painting. We present an initial realization of CanvasChain using a robust hash based on the BRISK feature descriptor and the neo blockchain, which supports smart contracts for basic required transactions. We present results from tests conducted on the proposed system to assess both the robust hash and the blockchain. Cost estimates obtained from the prototype realization indicate that the system is cost effective: e.g. it costs approximately US $1.85 to register a painting and benefit from the blockchain. As future work, we identify additional components required to make CanvasChain a full-fledged solution.
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Liu, Shengnan. "Intertextuality and Shielding of Poetic painting: A Case Study of Qiao Zhongchang’s “The Sequel to the Ode to the Red Cliff Scroll”." Studies in Linguistics and Literature 8, no. 3 (July 26, 2024): p86. http://dx.doi.org/10.22158/sll.v8n3p86.

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As an art form combining poetry and painting, poetic painting usually presents the emotion and mood of the source poem in a positive and favorable way. However, due to the limitations of painting’s ideograms, poetic painting has limitations in presenting the connotations and extensions of poetry. Qiao Zhongchang’s The Sequel to the Ode to the Red Cliff Scroll of the Northern Song Dynasty is one of the typical models of ancient poetic paintings. From the perspective of the relationship between poetry and painting, the writer analyze the intertextual and shielding phenomena therein, with a view to better understanding the constituent elements of the poetic paintings of the ancient literati and the role they played in the interpenetration of literature and art.
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Ye, Zhihao, and Xinyun Jiao. "Contemporary Art on Realistic Subjects in the New Era of Lacquer Painting." Asian Journal of Social Science Studies 7, no. 7 (August 1, 2022): 75. http://dx.doi.org/10.20849/ajsss.v7i7.1249.

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By using lacquer painting creation with realistic themes as an example, this essay will examine the primary issues with lacquer painting creation with realistic themes in the context of the modern period.It will summarize the key pathways and construction expansion choices for lacquer painting creation with realistic themes by analyzing the creative issues and traits of lacquer painting with realistic themes, and it will provide the future path perspective that may be supported.Modern lacquer paintings with realistic topics suffer from a loss of pictoriality, a weakening of pictoriality, and a lack of aesthetic merit. Lack of creative integrity and originality; little aesthetic effect; lack of a modern viewpoint or historical significance. It is clear that there is a “tendency to profit,” and commercialization results in repetition and homogenization. A few representative lacquer paintings and artworks have been examined by the author.By emphasizing the incorporation of styles from other forms of painting and increasing the lacquer painting’s creative expressive language, the author offers answers.The development of lacquer paintings with realistic subjects in the context of the new period is suggested as well as workable solutions.
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Jovanović, Vanja, Suzana Erić, Philippe Colomban, and Aleksandar Kremenović. "Identification of Lithol Red Synthetic Organic Pigment Reveals the Cause of Paint Layer Degradation on the Lazar Vozarević Painting “Untitled” with Copper Plates." Heritage 2, no. 3 (September 4, 2019): 2612–24. http://dx.doi.org/10.3390/heritage2030160.

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Out of a total of 56 paintings in the collection of the Lazar Vozarević Gallery in Sremska Mitrovica, only one Lazar Vozarević painting from 1961, titled “Untitled”, has been subject to atypical degradation that has resulted in damage of completely atypical appearance. Such a problem had never before been noticed in Yugoslavian paintings of the 20th century. Discolored areas were found in various locations on the paint layer of the painting “Untitled” (especially on the lower and central parts of the painting), which disturbed the visual experience of the artistic work. To discover the cause of this discoloration, the composition of the paint layer was investigated, with the assumption that the true cause of degradation was hidden therein. Moreover, this painting belongs to a specific period in Vozarević’s activity, characterized by the use of non-traditional painting materials. To identify pigments from the highly degraded painting “Untitled”, scanning electron microscopy coupled with energy dispersive X-ray spectrometry (SEM/EDS) and micro-Raman spectroscopy were applied. Lithol red, a synthetic organic pigment known to give paintings a red tone, was identified as the main reason for the painting’s degradation. Lithol red is not only highly light-sensitive but is also chemically unstable, toxic, and sensitive to heat.
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Kader, RabeaRadi Abdel, ShaimaaSayed Mohamed El –Sayed, and Ahmed Abo-El Yamin. "Study The Severe Effects of Iron Compounds Presenting in Sandstone on the Deterioration of Wall Paintings of Archaeological Tombs in Bahariya Oasis - Egypt." Budapest International Research in Exact Sciences (BirEx) Journal 1, no. 3 (July 25, 2019): 5–13. http://dx.doi.org/10.33258/birex.v1i3.337.

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The Wall paintings in Bahariya oasis expose to various deterioration factors, especially the resulted deterioration from the geological nature of sandstones' supports; sandstone of Bahariya formation is considered the weakest sandstone type in Egypt because of its geological formation which contains a very big percentage of iron oxides. Sandstone samples were taken, analyzed and examined by x-ray diffraction and scanning electron microscope, the iron oxides are thecement material in sandstone which affect negatively on the wall paintings in the selected tombs (Badi –Ishtarand Bannantiu tombs),they caused a lot of deterioration phenomena to the wall painting layers like: layers loss,black spots, cracking through all the layers and sandstone support weakness that threatens the remaining wall paintings and the safety of the tombs. Iron oxides percentage in Badi – Ishtartomb is more than Bannantiu tomb and this is reflected on the wall paintings case in Badi – Eshtar. This research sheds the light on this phenomenon and its effect on the wall painting's deterioration.
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Na Ri, Ge Le. "Characteristics of Mongol Figures in Persian Miniature Paintings." Highlights in Art and Design 4, no. 2 (September 1, 2023): 62–64. http://dx.doi.org/10.54097/hiaad.v4i2.12855.

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Among art categories, Persian miniature paintings have a very high reputation. Persian miniature paintings are also called Iranian miniature paintings. Persian miniature paintings first appeared in illustrations in books. Miniature painting began to have a significant Mongolian style in the 13th century AD. At the same time, it was influenced by Mongolian art and finally reached its peak in the 15th and 16th centuries. Because the Mongols at that time wanted to write "Historical Collection" and other similar types of works, they added some illustrations. This movement effectively promoted the development and growth of Persian miniature painting in the world, allowing Persian miniature painting known to more people, and the development of Persian miniature painting has broken the previous constraints on figure painting in Islamic countries and created its own distinctive artistic style. After relevant investigation and understanding, it was found that the current academic research on Persian miniature paintings is mostly around the techniques, composition and color of Persian miniature paintings. For this reason, this thesis research will mainly be based on the research of other scholars. In it, the image of Mongolian figures in Persian miniature paintings is discussed in detail to deepen the understanding of Persian miniature paintings.
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Hariwarman, Made Satya, I. Gusti Ngurah Sura Ardana, and Luh Suartini. "ANALISIS FORMAL KARYA LUKISAN IDA BAGUS KETUT SUTA." Jurnal Pendidikan Seni Rupa Undiksha 12, no. 3 (September 30, 2022): 161–73. http://dx.doi.org/10.23887/jjpsp.v12i3.52685.

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This study aims to describe (1) Identify the characteristics of Ida Bagus Ketut Suta painting (2) Describe the theme of Ida Bagus Ketut Suta's painting (3) Describe the visual form of Ida Bagus Ketut Suta's painting using formal analysis methods. The subject and object of this research is the profile of Ida Bagus Ketut Suta with traditional paintings that have been made by Ida Bagus Ketut Suta. This research is a qualitative descriptive study, data collection in this study used the techniques of (1) observation, (2) interviews, (3) documentation, and (4) literature. The results of this study indicate that (1) The results of the visual identification mapping of Ida Bagus Ketut Suta's traditional paintings based on a comparison of several types of traditional wayang paintings in Bali, show that the results of his paintings have different characteristics from traditional paintings that developed in eastern Bali but are the result of the development of traditional paintings from Tabanan, namely the wayang kopang style painting, (2) The themes of several paintings that have been made by Ida Bagus Ketut Suta can be identified through formal analysis methods that are based on folklore Hindu, (3) formal visual analysis of forms from Ida Bagus Ketut Suta's painting, which is a form of wayang tradition painting that has its own characteristic and varied appearance.Keywords: traditional painting, Ida Bagus Ketut Suta
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Li, Lingjing, and Yu Tian. "Aesthetic Preference and Time: Preferred Painting Dilates Time Perception." SAGE Open 10, no. 3 (July 2020): 215824402093990. http://dx.doi.org/10.1177/2158244020939905.

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In the domain of aesthetic preference, previous studies focused primarily on exploring the factors that influence aesthetic preference while neglecting to investigate whether aesthetic preference affects other psychological activities. This study sought to expand our understanding of time perception by examining whether aesthetic preference in viewing paintings influenced its perceived duration. Participants who preferred Chinese paintings ( n = 20) and participants who preferred western paintings ( n = 21) were recruited to complete a temporal reproduction task that measured their time perception of Chinese paintings and of western paintings. The results showed that participants who preferred Chinese paintings exhibited longer time perceptions for Chinese paintings than for western paintings, while the participants who preferred western paintings exhibited longer time perceptions for western paintings than for Chinese paintings. These results suggested that aesthetic preference could modulate our perceived duration of painting presentation. Specifically, individuals perceive longer painting presentation durations when exposed to the stimuli matching their aesthetic preferences.
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Herz, Rachel S., and Gerald C. Cupchik. "The Effect of Hedonic Context on Evaluations and Experience of Paintings." Empirical Studies of the Arts 11, no. 2 (July 1993): 147–66. http://dx.doi.org/10.2190/36rg-0v9j-4y4g-7803.

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This study examined the proposition that the hedonic context within which paintings are viewed interacts with the hedonic quality of paintings to determine aesthetic evaluation. Hedonic context was manipulated using twelve positive and twelve negative odor cues in three different formats (odor alone, odor + name, name alone). The hedonic quality of paintings was manipulated using six positive, six negative and twelve neutral emotionally toned paintings. Twenty-four males and twenty-four females viewed each painting in the context of a different cue with half of the emotional cue-painting trials being hedonically congruent (e.g., pos-pos) and half hedonically incongruent (e.g., neg-pos). Following each cue-painting trial subjects provided their evaluations of the paintings along artistic (e.g., artistic quality, visual complexity) and subjective-emotional (e.g., personal meaningfulness, pleasantness, tense-relaxed) dimensions. As predicted, all aesthetic evaluations were intensified when the cue and painting were hedonically congruent. Moreover, evaluations of the most emotionally potent painting group (negative paintings) were least influenced by context, and women were more sensitive to congruency and emotional context in general than were men. The results were interpreted in accordance with prior research and principles in experimental psychology and aesthetics.
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Dissertations / Theses on the topic "Paintings"

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Smith, Stephen Connolly. "New Paintings." Thesis, Montana State University, 2005. http://etd.lib.montana.edu/etd/2005/smith/SmithS0505.pdf.

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In the Lives, Vasari advises the artist to aim his arrows high, and above the mark which he intends to hit. In that way the aspiring artist compensates for the fact that the arrow seems always to fall short of the target. Vasari's advice was given to artists whose goal it was to represent nature and, particularly, the human body. And since Vasari felt that no artist would ever come as close to representing the body as perfectly as Michelangelo, one could do no better than to place the efforts of Michelangelo in their sights, and aim at surpassing him.
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Land, Robert William. "Little Paintings." VCU Scholars Compass, 2006. http://scholarscompass.vcu.edu/etd/1035.

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Little Paintings is a document that describes the creation, influences and process of two films, "Betty Creek" and "New Berlin". The films are personal responses to my experiences growing-up and living in the Southern United States. The Thesis illustrates the influences of painters such as Jimmie Lee Sudduth and Willie Jinks and how their raw painting methods inspire the development of my films using a tactile approach to filmmaking.
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Klos, Matthew Peter. "White paintings." College Park, Md. : University of Maryland, 2004. http://hdl.handle.net/1903/1472.

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Thesis (M.F.A.) -- University of Maryland, College Park, 2004.
Thesis research directed by: Dept. of Art. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.
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Zhang, Naijun. "Recent paintings untitled /." Morgantown, W. Va. : [West Virginia University Libraries], 2000. http://etd.wvu.edu/templates/showETD.cfm?recnum=1642.

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Thesis (M.F.A.)--West Virginia University, 2000.
Title from document title page. Document formatted into pages; contains iii, 21 p. : col. ill. Vita. Includes abstract. Includes bibliographical references (p. 9).
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Ender, Scott. "Paintings and explorations /." Click here to view, 2009. http://digitalcommons.calpoly.edu/artsp/27.

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Thesis (B.F.A.)--California Polytechnic State University, 2009.
Project advisor: Kathryn McCormick. Title from PDF title page; viewed on Jan. 21, 2010. Includes bibliographical references. Also available on microfiche.
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Bundgaard, Helle. "An Indian cloth painting and its art worlds : perceptions of Orissan patta paintings." Thesis, SOAS, University of London, 1994. http://eprints.soas.ac.uk/29346/.

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This study examines how a particular kind of Indian painting comes to have value. The focus of analysis is on the social life of paintings rather than the purely aesthetic. This is explored through a detailed examination of perceptions of the paintings amongst producers, consumers and art critics. The study is an attempt to apply the sociological institutional theory of art on Orissan patta paintings by developing the sociological approach into what I consider to be an anthropological approach. The Orissan patta paintings, with which the study is concerned, are circulated not only within India but also abroad and thus move through different cultural milieus. Following Arjun Appadurai (1986) pattas can be said to have a social life, whose value and meaning change through time and place (1986). The paintings are located in several value systems. These systems will often meet in the very transaction which moves a painting from one sphere to another. One of the central questions raised in the thesis is how particular kind of paintings come to have value and whether they are endowed with different layers of value. The model I have developed is of an art world consisting of interpenetrating layers with different semantic registers. The differences in evaluation and interpretation of the paintings at different points in their "social life" lead me to argue that the layers have the character of separate yet interacting worlds.
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Simonsen, Garric. "Some artists paint paintings." Pullman, Wash. : Washington State University, 2010. http://www.dissertations.wsu.edu/Thesis/Spring2010/g_simonsen_042110.pdf.

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Watson, Leonie. "Collecting the self paintings /." Access electronically, 2006. http://www.library.uow.edu.au/adt-NWU/public/adt-NWU20070821.122506/index.html.

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Tederstrom, Benjamin Harlin. "Seriously sexy silly paintings." The Ohio State University, 1993. http://rave.ohiolink.edu/etdc/view?acc_num=osu1316539043.

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Luk, Yu-ping. "Ren Bonian's Zhong Kui paintings." Click to view the E-thesis via HKUTO, 2004. http://sunzi.lib.hku.hk/hkuto/record/B30568316.

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Books on the topic "Paintings"

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Insoll, Chris. Paintings about painting - Chris Insoll. Falmouth: Falmouth Art Gallery, 2001.

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Takeda, Teppei. Paintings of painting: Teppei Takeda. Tokyo, Japan: United Vagabonds, 2019.

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Canoilas, Hugo. HCPP: Hugo Canoilas, paintings against painting. Guimarães - Portugal: Centro Cultural Vila Flor, 2011.

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Chalkley, Brian. Paintings. Coventry: Lanchester Gallery, 1988.

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Milroy, Lisa. Paintings. London: Waddington Galleries, 1998.

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Leonardo. Paintings. New Lanark: Geddes & Grosset, 1990.

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Scouller, Glen. Paintings. Edinburgh: Open Eye Gallery, 2002.

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Titian. Paintings. New Lanark: Geddes & Grosset, 1990.

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O'Dowd, Gwen. Paintings. [Kilkenny: Butler Gallery, 1989.

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Chambers, Stephen. Paintings. Cambridge: Kettle's Yard, 1998.

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Book chapters on the topic "Paintings"

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Jackson, Penelope. "Paintings-Within-Paintings." In The Art of Copying Art, 73–104. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-88915-9_4.

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Urbano, Paulo. "Consensual Paintings." In Lecture Notes in Computer Science, 622–32. Berlin, Heidelberg: Springer Berlin Heidelberg, 2006. http://dx.doi.org/10.1007/11732242_59.

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Kandinsky, W. "THE PAINTINGS." In Schoenberg and His World, edited by Walter Frisch, 238–42. Princeton: Princeton University Press, 2012. http://dx.doi.org/10.1515/9781400831937.238.

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Winterbach, Ingrid. "Two Paintings." In The Plague Years, 59–60. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003298014-6.

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Forsaith, Peter S. "Scene paintings." In Image, Identity and John Wesley, 56–65. New York : Routledge, 2017. | Series: Routledge Methodist studies series: Routledge, 2017. http://dx.doi.org/10.4324/9781315107905-6.

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Estrada, Ursula Tania. "Unpretentious Paintings." In Women in International and Universal Exhibitions, 1876–1937, 48–64. New York : Routledge, 2018. | Series: Routledge research in gender and history ; 28: Routledge, 2017. http://dx.doi.org/10.4324/9781315196534-3.

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Armitage, Ruth Ann, and Adelphine Bonneau. "Rock Paintings." In Encyclopedia of Geoarchaeology, 1–15. Cham: Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-030-44600-0_197-1.

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Barsoum, Anni. "Finishing Paintings." In The Coach's Guide to Completing Creative Work, 142–48. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003351344-27.

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Burgess, David. "Paintings on Canvas." In Chemical Science and Conservation, 55–64. London: Macmillan Education UK, 1990. http://dx.doi.org/10.1007/978-1-349-11429-0_5.

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Matyjaszkiewicz, Krystyna, and Briony Llewellyn. "“Splendid Architectural Paintings”." In Victorian Artists’ Autograph Replicas, 167–79. New York : Routledge, 2020. | Series: British art: histories and interpretations since 1700: Routledge, 2020. http://dx.doi.org/10.4324/9780367145835-17.

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Conference papers on the topic "Paintings"

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Maeda, A., Y. Oe, and N. Yoshizawa. "EVALUATION STRUCTURE ON PREFERENCE OF PAINTING’S APPEARANCE WITH LOW REFLECTANCE IN THE MUSEUM LIGHTING ENVIRONMENT." In CIE 2021 Conference. International Commission on Illumination, CIE, 2021. http://dx.doi.org/10.25039/x48.2021.po45.

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The purpose of this paper is to clarify the evaluation structure of the preference for the visibility of paintings, taking into account the characteristics of paintings with low reflectance. Although illuminance is used in the standards for museum lighting (CIE 157:2004), it is desirable to design lighting that also considers luminance from the viewpoint of perceived brightness. Therefore, we conducted the subjective experiment of oil paintings in which luminance ratio was set as an experimental variable and examined the evaluation structure of paintings with low reflectance. As a result, it was found that the evaluation of black details affects the preference for the visibility of paintings with low reflectance. However, the path diagram of the evaluation structure applied to each painting was different, indicating that it is difficult to represent the characteristics of a painting only by the mean reflectance.
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Kolay, Saptarshi, Bhavya Sihmar, and Mahua Mukherjee. "Ways of Seeing: an Eye-tracking Study of Natural Viewing Behavior Towards Paintings." In 14th International Conference on Applied Human Factors and Ergonomics (AHFE 2023). AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1003700.

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Interpretation of paintings is dependent on the visual saliency and focal points created in a painting. The self-expression of artist is perceived through the eyes of viewer to create a meaningful visual interpretation. It is important to know eye fixation points of viewer’s gaze behaviour coincides with the focal points created by the artist in a painting. The goal of this study is to analyse the natural viewing behaviour towards paintings, by tracking the eye movements of the human subjects when exposed to various paintings of different art movements. This study will deal with individual variations in perceptions related to the characteristics of the pictures. This visual data is generated through eye-tracking technology and articulated with the help of gaze plots, heat maps of eye movements of the human subjects. The paintings are categorized into two segments. One with distinct and hierarchical focal points and the other segment consists of paintings with more crystallographic balance and tessellations. Distinct variation of gaze behaviour is observed between these two different segments of paintings. The traditional theories of creation of focal points and principles of designs are correlated with the eye-tracking study. The study also attempts to focuses on the visual hierarchy within a painting and how the viewers’ eye movement it corresponding to the same. The outcome of the experiment shows the correlation of focal points on a two-dimensional static visual stimuli, i.e. paintings in the experiment, with the viewers’ gaze behaviour. This correlation can also be implemented into other form of two dimensional visual arts, like, graphic design, digital arts, poster design, etc.
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Shakeri, Hanieh, and Carman Neustaedter. "Painting Portals: connecting homes through live paintings." In CHI '21: CHI Conference on Human Factors in Computing Systems. New York, NY, USA: ACM, 2021. http://dx.doi.org/10.1145/3411763.3451730.

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Zhao, Amy, Guha Balakrishnan, Kathleen M. Lewis, Fredo Durand, John V. Guttag, and Adrian V. Dalca. "Painting Many Pasts: Synthesizing Time Lapse Videos of Paintings." In 2020 IEEE/CVF Conference on Computer Vision and Pattern Recognition (CVPR). IEEE, 2020. http://dx.doi.org/10.1109/cvpr42600.2020.00846.

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Molteni, Elisabetta, and Alberto Pérez Negrete. "Assedi della guerra di Morea nel ciclo celebrativo di Francesco Morosini. Arte, topografia e storia militare." In FORTMED2020 - Defensive Architecture of the Mediterranean. Valencia: Universitat Politàcnica de València, 2020. http://dx.doi.org/10.4995/fortmed2020.2020.11440.

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Sieges of the Morea War in the celebratory cycle of Francesco Morosini. Art, topography and military historyThe forty-eight paintings executed between the seventeenth and eighteenth centuries to celebrate the military campaigns of Francesco Morosini (1619-1694) are an exceptional repertoire of military genre painting. The canvas uses different figurative registers to represent naval battles, cities and territories, siege operations. If the relations with war literature and propaganda prints, which spread across Europe and which had their official “historiographer” in Vincenzo Coronelli in Venice, are evident, equally strong relationships can be established between the paintings, war reports and the plans made on the battlefield by military engineers. This paper deals with the paintings dedicated to the sieges of Corone and Negroponte are examined here.
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Li, Jinning, and Yexiang Xue. "Scribble-to-Painting Transformation with Multi-Task Generative Adversarial Networks." In Twenty-Eighth International Joint Conference on Artificial Intelligence {IJCAI-19}. California: International Joint Conferences on Artificial Intelligence Organization, 2019. http://dx.doi.org/10.24963/ijcai.2019/820.

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We propose the Dual Scribble-to-Painting Network (DSP-Net), which is able to produce artistic paintings based on user-generated scribbles. In scribble-to-painting transformation, a neural net has to infer additional details of the image, given relatively sparse information contained in the outlines of the scribble. Therefore, it is more challenging than classical image style transfer, in which the information content is reduced from photos to paintings. Inspired by the human cognitive process, we propose a multi-task generative adversarial network, which consists of two jointly trained neural nets -- one for generating artistic images and the other one for semantic segmentation. We demonstrate that joint training on these two tasks brings in additional benefit. Experimental result shows that DSP-Net outperforms state-of-the-art models both visually and quantitatively. In addition, we publish a large dataset for scribble-to-painting transformation.
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Arpa, Sami, Sabine Süsstrunk, and Roger D. Hersch. "Sculpture paintings." In Expressive '18: Joint Symposium on Computational Aesthetics and Sketch Based Interfaces and Modeling and Non-Photorealistic Animation and Rendering. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3229147.3229156.

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Lioret, Alain. "Being paintings." In the ACM SIGGRAPH 05 electronic art and animation catalog. New York, New York, USA: ACM Press, 2005. http://dx.doi.org/10.1145/1086057.1086145.

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Luo, Peixiang, Jinchao Zhang, and Jie Zhou. "High-Resolution and Arbitrary-Sized Chinese Landscape Painting Creation Based on Generative Adversarial Networks." In Thirty-First International Joint Conference on Artificial Intelligence {IJCAI-22}. California: International Joint Conferences on Artificial Intelligence Organization, 2022. http://dx.doi.org/10.24963/ijcai.2022/695.

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This paper outlines an automated creation system for Chinese landscape paintings based on generative adversarial networks. The system consists of three cascaded modules: generation, resizing, and super-resolution. The generation module first generates a square-shaped painting, then the resizing module predicts an appropriate aspect ratio for it and performs resizing, and finally the super-resolution module is used to increase the resolution and improve the quality. After training each module with the images we collected from the web, our system can create high-resolution landscape paintings in arbitrary sizes.
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Okuda, S., S. Taguchi, M. Melgosa, and K. Okajima. "PREFERRED LIGHTING FOR UKIYO-E, JAPANESE WOODBLOCK PRINT PAINTINGS." In CIE 2023 Conference. International Commission on Illumination, CIE, 2023. http://dx.doi.org/10.25039/x50.2023.po129.

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In most cases the appearance of cultural properties depends on surface colours, materials and lighting conditions. This study aims to clear the preferred lighting conditions for the appearance of specific cultural properties named Ukiyo-e, Japanese woodblock print paintings. We used two kinds of Ukiyo-e as visual targets and investigated their appearance under 12 illuminants (D65, A, D50 plus nine LEDs proposed in CIE 015:2018), and three levels of vertical illuminance (50, 200 and 500 lx). According to the results, the preferred appearance of Ukiyo-e was affected by the lighting conditions as well as by specific colours of the paintings. Illuminants with high correlated colour temperatures (CCTs) made paintings appear as newer, and the illuminance of 50 lx was not preferred. We also found that the painting including blue colours was preferred under illuminants with slightly high CCTs, and illuminants with low CCTs were not appropriate for good appearance of Ukiyo-e.
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Reports on the topic "Paintings"

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Ryan, Alix. Paintings of Home. Portland State University Library, January 2015. http://dx.doi.org/10.15760/honors.209.

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Jones, Anita. Paintings and drawings. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.5382.

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Garnett, William. Series of Drawings and Paintings. Portland State University Library, January 2000. http://dx.doi.org/10.15760/etd.2275.

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Варданян, Марина Володимирівна, Ірина Анатоліївна Дирда, and Маргарита Вікторівна Кірєєва. Cultural memory of Chornobyl in literature and fine arts (in case of a picturebook “The Flowers beside the Fourth Reactor” by K. Mikhalitsyna and paintings by M. Prymachenko). Atlantis, May 2022. http://dx.doi.org/10.31812/123456789/7059.

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From the category “cultural memory”, the paper compares the works of different arts – a picturebook Kvity bilia chetvertoho (The Flowers beside the Fourth Reactor) by K. Mikhalitsyna and paintings of a representative of naive art, an artist M. Prymachenko. The paper explores the interaction of various arts based on Chornobyl’s issue within the comparative interpretation. The Flowers beside the Fourth Reactor by K. Mikhalitsyna narrates the life of M. Prymachenko and refers to her paintings devoted to Chornobyl. From the reception of fine arts, the writer’s picturebook raises verbilised and visualised issues of generations, memory, and nature conservation.
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Galenson, David. The Careers of Modern Artists: Evidence from Auctions of Contemporary Paintings. Cambridge, MA: National Bureau of Economic Research, December 1997. http://dx.doi.org/10.3386/w6331.

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Galenson, David. Quantifying Artistic Success: Ranking French Painters - and Paintings - from Impressionism to Cubism. Cambridge, MA: National Bureau of Economic Research, October 1999. http://dx.doi.org/10.3386/w7407.

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Rajnovich, G. Reading rock art: interpreting the Indian rock paintings of the Canadian Shield. Natural Resources Canada/ESS/Scientific and Technical Publishing Services, 2002. http://dx.doi.org/10.4095/216231.

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Iliev, Mihail, Milena Mitova, Ralitsa Ilieva, Veneta Groudeva, and Petar Grozdanov. Bacterial Isolates from Rock Paintings of Magura Cave and Sensitivity to Different Biocides. "Prof. Marin Drinov" Publishing House of Bulgarian Academy of Sciences, May 2018. http://dx.doi.org/10.7546/crabs.2018.05.08.

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Galenson, David. Masterpieces and Markets: Why the Most Famous Modern Paintings Are Not by American Artists. Cambridge, MA: National Bureau of Economic Research, October 2001. http://dx.doi.org/10.3386/w8549.

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Bruegel, Martin, and David Galenson. Measuring Masters and Masterpieces: French Rankings of French Painters and Paintings from Realism to Surrealism. Cambridge, MA: National Bureau of Economic Research, May 2001. http://dx.doi.org/10.3386/w8266.

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